Portal:Classical music/Selected article/Archive
March 2009[edit]
A symphonic poem or tone poem is a piece of orchestral music in one movement in which some extramusical program provides a narrative or illustrative element. This program may come from a poem, a story or novel, a painting, or another source. The term was first applied by Franz Liszt to his 13 one-movement orchestral works in this vein. They were not pure symphonic movements in the classical sense because they dealt with descriptive subjects taken from mythology, Romantic literature, recent history or imaginative fantasy. In other words, these works were "programmatic" rather than abstract. The form was a direct product of Romanticism which encouraged literary, pictorial and dramatic associations in music. It developed into an important form of program music in the second half of the 19th century.
A symphonic poem may stand on its own, like a concert overture, or it can be part of a series combined into a suite (in the Romantic rather than the Baroque sense). For example, "The Swan of Tuonela" (1895) is a tone poem from Sibelius's Lemminkäinen Suite. A symphonic poem can also be part of a cycle of interrelated works, such as Vltava (The Moldau) as part of the six-work cycle Má vlast by Bedřich Smetana.
Musical works such as tone poems based on extramusical sources are often referred to as program music while music which has no such associations may be called absolute music. Also, while the terms "symphonic poem" and "tone poem" have often been used interchangeably, some composers such as Richard Strauss and Jean Sibelius have preferred the latter term for pieces which were less symphonic in design and in which there is no special emphasis on thematic or tonal contrast.
February 2009[edit]
A piano roll is the music storage medium used to operate the player piano, pianola or a reproducing piano. The piano roll was the first medium which could be produced and copied industrially and made it possible to provide the customer with actual music fast and easily. A piano roll is a roll of paper with perforations (holes) punched in it. The position and length of the perforation determines the note played on the piano. The roll moves over a device known as the 'tracker bar', which first had 58 holes, was expanded to 65 and then was upgraded to 88 holes (generally, one for each piano key). When a perforation passes over the hole, the note sounds.
Piano rolls were in continuous mass production from around 1896 to 2009. Though these are no longer made today, MIDI files represent a modern way in which musical performance data can be stored. MIDI files accomplish digitally and electronically what piano rolls do mechanically. Software for editing a performance stored as MIDI data often has a feature to show the music in a piano roll representation.
The first paper rolls were used by Welte & Sons in their Orchestrions since 1883. After hundreds of companies of this booming business produced piano rolls different in size and perforation, in 1908 the American producers of piano rolls and mechanical pianos as well agreed to a standard in the Buffalo Convention.
January 2009[edit]
The Mozart effect can refer to:
- A set of research results that indicate that listening to Mozart's music may induce a short-term improvement on the performance of certain kinds of mental tasks known as "spatio-temporal reasoning;"
- Popularized versions of the theory, which suggest that "listening to Mozart makes you smarter", or that early childhood exposure to classical music has a beneficial effect on mental development;
- A trademark for a set of commercial recordings and related materials, which are claimed to harness the effect for a variety of purposes. The trademark owner claims benefits far beyond improving spatio-temporal reasoning or raising intelligence, defining the mark as "an inclusive term signifying the transformational powers of music in health, education, and well-being."
The term was first coined by Alfred A. Tomatis who used Mozart's music as the listening stimulus in his work attempting to cure a variety of disorders. The approach has been popularized in a book by Don Campbell, who trademarked the term, and is based on an experiment published in Nature suggesting that listening to Mozart temporarily boosted students' IQ by 8 to 9 points. As a result, the Governor of Georgia, Zell Miller, proposed a budget to provide every child born in Georgia with a CD of classical music.
December 2008[edit]
The term Concerto (plural concertos or concerti) usually refers to a three-part musical work in which one solo instrument is accompanied by an orchestra. The concerto, as understood in this modern way, arose in the Baroque period side by side with the concerto grosso, which contrasted a small group of instruments with the rest of the orchestra. While the concerto grosso is confined to the Baroque period, the solo concerto has continued as a vital musical force to this day.
The concertos of Bach’s sons are perhaps the best links between those of the Baroque period and those of Mozart. C.P.E. Bach’s keyboard concertos contain some brilliant soloistic writing. Some of them have movements that run into one another without a break, and there are frequent cross-movement thematic references. Mozart, as a boy, made arrangements for harpsichord and orchestra of three sonata movements by Johann Christian Bach. By the time he was twenty, he was able to write concerto ritornelli that gave the orchestra admirable opportunity for asserting its character in an exposition with some five or six sharply contrasted themes, before the soloist enters to elaborate on the material.
In the 19th century the concerto as a vehicle for virtuosic display flourished as never before. It was the age in which the artist was seen as hero, to be worshipped and adulated with rapture. Early Romantic traits can be found in the violin concertos of Viotti, but it is Spohr’s twelve violin concertos, written between 1802 and 1827, that truly embrace the Romantic spirit with their melodic as well as their dramatic qualities.
November 2008[edit]
Atonality in its broadest sense describes music that lacks a tonal center, or key. Atonality in this sense usually describes compositions written from about 1907 to the present day where a hierarchy of pitches focusing on a single, central tone is not used as a primary foundation for the work. More narrowly, the term describes music that does not conform to the system of tonal hierarchies that characterized classical European music between the seventeenth and nineteenth centuries.
More narrowly still, the term is used to describe music that is neither tonal nor serial, especially the pre-twelve-tone music of the Second Viennese School, principally Alban Berg, Arnold Schoenberg, and Anton Webern.
Composers such as Alexander Scriabin, Béla Bartók, Paul Hindemith, Sergei Prokofiev, Igor Stravinsky, Edgard Varèse, however, have written music that has been described, in full or in part, as atonal.
October 2008[edit]
The Brandenburg concertos by Johann Sebastian Bach (BWV 1046–1051, original title: Six Concerts Avec plusieurs Instruments) are a collection of six instrumental works presented by Bach to Christian Ludwig, margrave of Brandenburg-Schwedt, in 1721 (though probably composed earlier). They are widely regarded as among the finest musical compositions of the Baroque era.
The inscription of 24 March 1721 on the dedication manuscript to the Margrave, attests for the date of composition for the Brandenburg Concertos, but most likely they had been written over a number of years during Bach's tenure as Kapellmeister at Köthen and possibly even extending back to the period of his employment at Weimar (1708-17).
The dedication page Bach wrote for the collection indicates they are Concerts avec plusieurs instruments (Concertos with several instruments). Bach used the "widest spectrum of orchestral instruments... in daring combinations," as Christoph Wolff has commented. "Every one of the six concertos set a precedent in scoring, and every one was to remain without parallel." Heinrich Besseler has noted that the overall forces required (leaving aside the first concerto, which was rewritten for a special occasion) tallies exactly with the 17 players Bach had at his disposal in Köthen.
September 2008[edit]
Sylvia, originally Sylvia ou La Nymphe de Diane, is a full-length ballet in two or three acts, first choreographed by Louis Mérante to music by Léo Delibes in 1876. Sylvia is a typical classical ballet in many respects, yet it has many interesting features which make it unique. Sylvia is notable for its mythological Arcadian setting, creative choreographies, expansive sets and, above all, its remarkable score. The ballet's origins are in Tasso's 1573 poem "Aminta," which describes the basic plot of Delibes' work. Jules Barbier and Baron de Reinach adapted this for the Paris Opera.The piano arrangement was composed in 1876 and the orchestral suite was done in 1880.When Sylvia premiered on June 14, 1876 at the Palais Garnier, it went largely unnoticed. In fact, the first seven productions of Sylvia were not successful. It was the 1952 revival, choreographed by Sir Frederick Ashton, that popularized the ballet. Ashton's success set the stage for the 1997, 2004 and 2005 productions, all of which were based on his 1952 choreography.
August 2008 and earlier[edit]
Beijing opera or Peking opera (simplified Chinese: 京剧; traditional Chinese: 京劇; pinyin: Jīngjù) is a form of traditional Chinese theatre which combines music, vocal performance, mime, dance and acrobatics. It arose in the late 18th century and became fully developed and recognized by the mid-19th century. The form was extremely popular in the Qing Dynasty court and has come to be regarded as one of the cultural treasures of China. Major performance troupes are based in Beijing and Tianjin in the north, and Shanghai in the south.The art form is also enjoyed in Taiwan, and has spread to other countries such as the United States and Japan.Beijing opera features four main types of performers. Performing troupes often have several of each variety, as well as numerous secondary and tertiary performers. With their elaborate and colorful costumes, performers are the only focal points on Beijing opera's characteristically sparse stage.
Porgy and Bess is an opera, first performed in 1935, with music by George Gershwin, libretto by DuBose Heyward, and lyrics by Ira Gershwin and Dorothy Heyward. It was based on DuBose Heyward's novel Porgy and the play of the same name that he co-wrote with his wife Dorothy. All three works deal with African American life in the fictitious Catfish Row in Charleston, South Carolina, in the early 1930s.Originally conceived by Gershwin as an "American folk opera," Porgy and Bess premiered in New York in the fall of 1935 and featured an entire cast of classically trained African-American singers—a daring and visionary artistic choice at the time. Incorporating a wealth of blues and jazz idioms into the classical art form of opera, Gershwin considered it his finest work, but it was not widely accepted in the United States as a legitimate opera until 1976 when the Houston Grand Opera production of his complete score (followed nine years later by its Metropolitan Opera premiere) established it as an artistic triumph.
Thespis, or The Gods Grown Old, is an operatic extravaganza that was the first collaboration between dramatist W. S. Gilbert and composer Arthur Sullivan. It was never published, and most of the music is now lost. However, Gilbert and Sullivan would go on to become one of the most famous and successful partnerships in Victorian England, creating a string of comic opera hits, including H.M.S. Pinafore, The Pirates of Penzance and The Mikado, that continue to be popular throughout the English-speaking world. Thespis premièred in London at the Gaiety Theatre on December 26, 1871. Like many productions at that theatre, it was written in a broad, burlesque style, considerably different from Gilbert and Sullivan's later works. It was a modest success—for a Christmas entertainment of the time—and closed on March 8, 1872, after a run of 63 performances.The story follows an acting troupe headed by Thespis, the legendary Greek father of the drama, who temporarily trade places with the now elderly gods on Mount Olympus.
The ⓘ (Chinese: 古琴; pinyin: gǔqín; Wade–Giles: ku-ch'in; Mandarin pronunciation: [kùtɕʰǐn]; literally "ancient stringed instrument") is the modern name for a plucked seven-string Chinese musical instrument of the zither family (中華絃樂噐/中华弦乐器). It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as highlighted by the quote 「士無故不撤琴瑟」, meaning "a gentleman does not part with his qin or se without good reason," as well as being associated with the ancient Chinese philosopher Confucius. It is sometimes referred to by the Chinese as 「國樂之父/国乐之父」, meaning "the father of Chinese music" or 「聖人之噐/圣人之器」, meaning "the instrument of the sages".The guqin is a very quiet instrument, with a range of about four octaves, and its open strings are tuned in the bass register. Its lowest pitch is about two octaves below middle C, or the lowest note on the cello.
Timpani (also known colloquially as kettledrums or kettle drums) are musical instruments in the percussion family. A type of drum, they consist of a skin called a head stretched over a large bowl commonly made of copper. They are played by striking the head with a specialized drum stick called a timpani stick or timpani mallet. Unlike most drums, they produce a definite pitch when struck, and can be tuned, often with the use of a pedal. Timpani evolved from military drums to become a staple of the classical orchestra by the last third of the 18th century. Today, they are used in many types of musical ensembles including concert, marching, and even some rock bands.Timpani is an Italian plural, the singular of which is timpano. However, this is rarely used in informal English speech as a timpano is typically referred to as a drum, a timpani, or simply a timp. A musician who plays the timpani is known as a timpanist.